4 posts tagged "Paul Rowland"
Perhaps the biggest model story of NYFW was the return of Carolyn Murphy to the runways. The nineties-era golden girl opened the Jason Wu show, channeling Helmut Newton in painted cherry red lips and a slicked-back updo, and also walked Marchesa later in the week. Liberty Ross’ exclusive appearance at Alexander Wang also caused quite a stir. In the face of swirling rumors about her director husband, Rupert Sanders, the 33-year-old English actress proved that looking good is the best revenge. Still, a handful of fresh faces tackling their first show season also managed to make an impact. The week kicked off with Marine Deleeuw, who opened BCBG Max Azria on Thursday and Rag & Bone on Friday, then went on to walk shows including 3.1 Phillip Lim and Narciso Rodriguez. She ended things on a high note at Calvin Klein, which is arguably the most coveted show to score. Asia Piwka and Kayley Chabot, two other rookies on the rise, also netted Calvin yesterday. Earlier in the week, Piwka debuted at Alexander Wang (she was the mystery girl in Christopher Kane’s Resort lookbook) and turned up at Marc Jacobs, Rodarte, and Michael Kors. Chabot’s girl-next-door appeal brought about coveted spots at Altuzarra and Proenza Schouler.
It’s safe to say that many catwalking careers have been launched at Alexander Wang, and this season was no different. Striking redhead Irina Kravchenko (pictured, bottom right) was the first girl out there, which paved the way for turns at Marc Jacobs, Thakoon, and Narciso Rodriguez. Juliana Schurig (pictured, bottom left) and Marikka Juhler (pictured, top right) also started with Wang before going on to do other top shows; bleach-blonde Schurig landed at Derek Lam and Theyskens’ Theory, among others, while Juhler, who is serving a serious, old-school glamazon vibe, had everyone asking, “Who’s that girl?” at Tommy Hilfiger, Oscar de la Renta, and Proenza Schouler. Speaking of Proenza, baby-faced Wylie Hays opened the show after walking Alexander Wang and Theyskens’ Theory earlier in the week. Personally, we’ve got a crush on Athena Wilson’s (pictured, top left) ragged pageboy bowl cut. Wilson premiered at Creatures of the Wind and also worked her tomboyish charm at Altuzarra and Narciso Rodriguez. It’s worth mentioning that coincidentally, nearly all the notable newbies (aside from Piwka and Hays) are with Ford Models, so Paul Rowland and company must be doing something right. Nevertheless, there are still three cities left, which means plenty of opportunities (read: major league exclusives) for other newcomers to step up.
A room full of agnostic fashion types is perhaps not the most obvious audience for a show of religious-themed art. But that’s who was on hand for the opening of Paul Rowland’s The Transformation of Enrique Miron as El Diablo in Chelsea last night. Rowland is better known as the founder of Women and Supreme Model Management and the newly minted women’s division director of Ford, but for this, his second show, he turned his camera away from the ladies. Instead, he shot male model Enrique Miron dressed up (or, frequently, dressed down) as a brawny Satan in Dante-esque scenarios. The centerpiece: a ten-foot portrait of Miron nailed to the cross. “I was raised religious and my mother is devout, but as I got older, I faded away from that,” Miron said. Even so, “it felt empowering” to be up on that cross.
“I felt like not many people really embraced the idea of Satan,” said Rowland, in his ever-present knit beanie (pictured, center, with Italo Zucchelli, Enrique Miron, and Steven Gan). “They always tend to kind of run from it or not deal with it,” so he chose to “celebrate” the guy. Of course, nothing draws a crowd like a party, and plenty of Rowland’s girls—including Hanne Gaby Odiele, Rose Cordero, Alana Zimmer, and Ranya Mordanova—showed up to help with that celebration. “I don’t really believe in God, so for me, it’s just fun,” said Inna Pilipenko, who sported a Zara blouse and Chanel bag and shoes for the demonic occasion.
Religious views aside, many attendees might have been preoccupied with a slightly more earthly matter: Rowland’s recent move to Ford. “You know, I define myself—it’s not like an agency defines me,” Rowland said. How did Women and Supreme feel about the move? “I’m a creative person, and on some level they understood that I needed to do something else. You know, they weren’t completely happy, but there was no great drama.” He noted that Ford “offered me a good deal across the board.” Not a deal made with the Devil, presumably, but he and Rowland do seem to be on good terms.
Who doesn’t have a lower-priced, secondary collection of T-shirts at this point? It turns out Vena Cava (pictured) didn’t, and now they do: Viva Vena, a line of organic cotton and jersey tees and tanks produced in L.A. All will retail under $200. The wheel remains unreinvented, but we ain’t complaining. [WWD]
Speaking of wheels un-reinvented, Hedi Slimane shot a moody portfolio of dark-eyed Euro youths for the upcoming issue of VMan. This time: Danes. VMan.com presents a little preview, and again, no complaints. [VMan]
OK, this one is reinvented: Jeff Koons is the latest artist to take on the BMW Art Car challenge, designing his own muscle car, and judging from his psychedelic initial sketches, it should be one to see. [ArtInfo.com]
Jean Paul Gaultier is set to be honored at the 11th annual French Film Festival in Athens next, where he’ll screen some of his favorite flicks. Those include Jacques Becker’s Falbalas, Franco Zeffirelli’s Callas Forever, and an episode of Loïc Prigent’s The Day Before fashion documentary, starring, of all people, Jean Paul Gaultier. [WWD]
And fashion big shots like Love‘s Katie Grand and Ford Models’ Paul Rowland say they’d love to cast androgynous Baylor University basketball player Brittney Griner. And, yes, this may be the first time we’ve ever seen “Love‘s Katie Grand” and “Baylor University basketball player” in the same sentence. [NYMag]
For Paul Rowland, “pretty” is not enough. Not that he has anything against a good-looking girl—Rowland is, after all, the founder of the modeling agencies Women and Supreme. Over the past 20 years he’s helped launch the careers of models Naomi Campbell, Kate Moss, Elle Macpherson, and Carmen Kass, to name a few familiar faces. So he sees “pretty” all the time, but it’s the stuff going on behind those cheekbones that gets Rowland’s heart racing—especially when he’s taking pictures. Building on his work as Supreme’s house photographer, Rowland has carved out a second career for himself behind the camera: As well as shooting Supreme’s keepsake show packages each season, his work has been featured in V and EXIT, and in December Rowland mounted his first-ever solo show at Miami Art Basel. Titled Transformations, the show spotlighted his obsession with getting his subjects to tell a story before the lens. “Models can be very hard to photograph,” Rowland notes. “Their job is to make clothes look good, and more often than not, all they can give the camera is a pose. My challenge is to coax a girl into giving something of herself.” Tonight, Transformations takes up temporary residence in New York City, opening at the Women/Supreme space in west Chelsea. In advance of his debut before the hometown crowd, Rowland talked to Style.com about the art that goes into making faces.
I understand you moved to New York city to be a painter. How did you wind up one of the grand pooh-bahs of the modeling business, instead?
Oh, you know how these things happen—you move to the city to do one thing, and then you wind up waiting tables. I wasn’t crazy about being a waiter, so when I got to know some fashion people and the fashion people told me I should model, I jumped. The modeling led to booking, and the booking led to my opening Women, and so on. There was never a grand plan. For a long time I just figured I was stashing money away so I could paint.
Both Women and Supreme have earned reputations as go-to agencies for girls with an unusual look. Was that happenstance, as well?
No, that much was purposeful. I’m not really interested in apple pie, all-American beauty. I appreciate it, but it doesn’t compel me. Whereas I have this art background seared in my head, so when I look at a girl and there’s that instant reference—like, she’s got a Modigliani face—that’s the beauty that takes me in. At the time I launched Women, unconventional beauty needed a champion. Now, I look around at who’s working, and it’s clear that I’ve managed to change our ideas about what’s beautiful, at least a little bit. But you can always push the envelope. That’s why I opened Supreme. We take some very edgy girls there.